McGrath of Harlow has I think has hit the nail on the head here, and I very much agree.

"I'm all for proliferation of music, and specialist venues and sessions can be an important part of that - but no time for people who see this as an occasion for hostility to those who approach things differently from themselves. And no, I can't see Martin Carthy going "Because you're not good enough, is why!" He'd see it as important to deal with it in a way that would send the fella away resolved to practice until he was good enough, not humiliated and maybe alienated for good from folk music."

I can't see Martin saying 'not good enough' either. Surely any 'traditional' singer who gives damn would want to see the tradition they represent reach as wide an audience as possible, and be handed on to future generations? Surely if Folk Music is to survive it has to be inclusive and relevant, rather than made exclusive in any way. Teaching, involving and encouraging have to be a part of this process.   

I may be misunderstanding something here, but I seem to have picked up the inference that 'real' traditional singers or players are indifferent to key and don't, or won't, read the dots. This seems very peculiar, and is manifestly untrue in a number of cases. If this goes hand in hand with a belief that playing fast is synonymous with good musicianship then I would seriously doubt if any player with these sorts of attitudes has the right to call themselves a 'Folk Musician' at all.

Certainly, if I came across this sort of thing, I first pause to consider if those involved actually understand what they are doing, then if I feel not, give them a wide berth in order to find some real folk musicians:- the ones who want to share their enthusiasm for the music and the music making with everyone who is interested.


SM